Tag Archives: Bill Paxton

Actor’s Spotlight: Nate’s Top Ten Bill Paxton Performances

Bill Paxton was one of those guys who could be the most affable dude in the room, the friendliest guy on the block and without warning, at the drop of a hat turn the energy of his performance around 180 degrees into something dark and dangerous before the audience even had a chance to react. A boisterous, scene stealing, standup guy and just as talented in the director’s chair as he was in front of the camera, this guy was one of cinema’s greatest treasures. Here are my top ten personal favourites of his many excellent performances!

10. Wayne Caraway in Nathan Morlando’s Mean Dreams

This indie drama was one of his last films before passing and one of the most terrifying, despicable characters he’s ever played. Caraway is a corrupt county sheriff who is running drugs as a side hustle and letting his daughter (Sophie Nélisse) become collateral damage in the process. He’s volcanically unpredictable, heinously abusive and frequently very violent, especially towards the kids around him. It’s an arresting portrayal of renegade small town law gone bad to the bone and he relishes every rotten mannerism and brooding, misanthropic gesture.

9. Bokky in Traveller

This is an obscure little indie focused on the lives of the descendants of Irish Gypsy ‘Travellers’ in the states, making their living as con artists. Paxton’s charming Bokky is a seasoned pro who mentors a young rookie (Mark Wahlberg) with roots in the community, both eventually finding themselves in over their head. It’s a quaint, eccentric caper flick that showcases a niche society you don’t often get to hear too much about.

8. Dale ‘Hurricane’ Dixon in Carl Franklin’s One False Move

Dale lives up to his name, a bull in a china shop of a small town sheriff played expertly by Paxton as extremely warm and welcoming at first, until we see a dangerous core smouldering just under the salt of the earth exterior, brought out by a violent, twist laden crime narrative that lets no character off the hook.

7. Earl in Baltasur Kormákur’s 2 Guns

A spectacularly corrupt CIA agent in a Panama hat, Earl is out to get back a stolen slush fund that somehow ended up in the hands of the cartel and then the film’s two heroes (Denzel Washington and Mark Wahlberg). He isn’t just the pursue and retrieve type of fellow though, he relishes his power and has a nasty sadistic streak that comes out in ruthless Russian roulette torture bouts he puts his captives through. A cheerfully psychotic, scene stealing villain, Bill has a lot of fun and banters around with the rest of the cast nicely.

6. Hank in Sam Raimi’s A Simple Plan

Just a small town dude who finds a whole whack of stolen money, things spiral out of control for him, his girlfriend (Bridget Fonda) and dullard brother (Billy Bob Thornton) in this brutal, icy and brilliant morality play of a thriller. Paxton always excelled at showing the dark side of seemingly harmless characters and this is no exception, giving the old saying ‘money is the root of all evil’ a run for *it’s* money.

5. Jerry Lambert in Stephen Hopkins’ Predator 2

This is a fucking great film and don’t let anyone tell you otherwise. Lambert is the spitfire rookie in Danny Glover’s impossibly badass squad of tactical street cops, which include familiar faces like Ruben Blades and Maria Conchita Alonso. This being an 80’s action flick, Paxton gives his trademark lovably obnoxious and inexhaustibly verbose energy and is a terrific addition to an already packed cast.

4. Brock Lovett in James Cameron’s Titanic

Brock is one of the characters who only exists in the present and sort of anchors the historical facts with his presence. Paxton gives this scruffy treasure hunter a laid back yet determined edge and rocks a pirate hoop earring awesomely.

3. Dad Meiks in Bill Paxton’s Frailty

This was his feature directing debut and what a film it is. A sort of Southern Gothic horror whodunit, he gives an absolutely haunting, harrowing turn as a loving father who gradually begins to lose his marbles and display murderous tendencies. He plays the horrific elements straight and frankly, making his curve into madness hit all the harder.

2. Private William Hudson in James Cameron’s Aliens

“Game over man!!” Paxton made that hilarious line and many others iconic in this portrayal of the ultimate badass who has the ultimate nervous breakdown when danger shows up and ultimately actually fights pretty damn impressively and redeems himself for freaking out like a little bitch earlier on. He’s also riotous comic relief and gets all the best moments.

1. Severen in Kathryn Bigelow’s Near Dark

One in a pack of roving vampires, Severen is undoubtably the most rambunctious and bloodthirsty of the pack, an unpredictable wild card who murders humans on a cheerful whim and always has a quip ready before blasting someone’s face off. In a career full of rowdy behaviour and off the wall performances this one stands out as the most impressive sustainment of energy for a feature length running time I’ve ever seen.

Thanks for reading and stay tuned for more!

-Nate Hill

Hey Bill, glad you’re back: Behind The Taking of Tiger Mountain by Kent Hill

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The first film I thought of while the early moments of Tiger Mountain played before me was THX 1138. This was a trip, dragged forcefully against one’s will and plunged into a murky pond which is a kind of metaphoric representation of being removed from the light and air and smothered by naked oppression and placed under the rule of the hive mind. And it is a mesmerizing submersion into these terrifying depths that are as much about the myth of control as they are the misuse of it.TigerPosterr Another part of the allure for me to tackle this movie is the treat of seeing Bill Paxton back on the screen. I remember watching Edge of Tomorrow and delighted in his presence – a kind of measured version of his character from Weird Science. The man was talented – even though he made it all look far too easy. But as I spoke to Tom Huckabee, (Paxton’s longtime friend and collaborator) I quickly was made to understand that this easy-chair nature I’d seen and enjoyed in Paxton was in fact a ruse. Turn’s out Bill was a lot more Near Dark than most people really knew.

Tiger Mountain is a passion project that has survived because of the enthusiasm shared by two buddy’s who were looking for a way into the movie business. It is a product of it’s time, topical to that period and perhaps in some ways even more relevant as a kind of looking glass held up to the world of today, indeed more so than it was then. The journey has taken since 1974 to come before an audience at last in the best and most complete version of the film that exists. It is a picture that has crossed continents and indeed space and time to arrive like some strange and miraculous time capsule which stands as an epitaph to the exuberance of youth and a yearning for greater self expression.71124 So this is the first time since 1983 that you’ll have to witness this compelling cinema experience influenced by William Burroughs – which is then counter balanced with the writings of Valerie Solanas. Portions of text coming from a Burroughs’s novella whose title had already been taken by a chap named Ridley Scott.

This 4K transfer is beautiful and the journey, although sold as the brainwashing of an American draft dodger by militant feminists in order to assassinate the Welsh minister of prostitution, Tiger Mountain is an experience, a fascinating making-of tale to hear and a parable of sorts which speaks of the possibilities that growth and recognition are always achievable as long as art is never abandoned.

TOM HUCKABEE

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Tom Huckabee is a writer, director, producer with over 40 years experience in entertainment. As a student at UT Austin he studied under Tom Schatz, Loren Bivens, and Edward Dymytryk, directed “The Death of Jim Morrison,” nominated for a student academy award, and “Taking Tiger Mountain,” starring Bill Paxton and co-written by William S. Burroughs. He has been a staff producer at Landmark Theaters, a writer of non-fiction TV for Disney and Discovery, a story analyst for 21st Century Films, and a staff researcher for The History Channel’s Modern Marvels. In 1987 he produced and co-wrote “Martini Ranch’s Reach,” a long-form music video directed by James Cameron, starring Kathryn Bigelow, Bill Paxton, Phil Granger, Bud Cort, Judge Reinhold and much of the cast from “Near Dark” and “Aliens.” In 1997, he was associate producer of post-production and music supervisor for “Traveller,” starring Paxton, Mark Wahlberg, and Julianna Margulies. From 1998 – 2001, he was vice president of American Entertainment, underwritten by Walt Disney Studios, where he created and/or oversaw development of feature projects with Touchstone, Universal, Imagine, Image Movers, HBO, Sony, and Revolution Studios. In 2001 he executive-produced Paxton’s directorial debut, Frailty, starring Paxton, Powers Boothe and Matthew McConaughey. Also in 2001, he produced and directed a live event, Arthur C. Clarke: Beyond 2001 at the Playboy Mansion, featuring James Cameron, Patrick Stewart, Morgan Freeman, and Buzz Aldrin, He was an uncredited script consultant on Twister, Mighty Joe Young, Vertical Limit, U-571, Thunderbirds, The Greatest Game Ever Played, and The Colony and a quality control supervisor for Lucasfilm (1990-2004), working on films by Ron Howard, Michael Mann, Martin Scorsese, Steven Spielberg, George Lucas, Kathryn Bigelow, etc.. In 2005 he was a producer/writer on 75 episodes of National Lampoon’s An Eye for an Eye. In 2007 he was the artistic director for the first annual Lone Star International Film Festival. His sophomore feature Carried Away (2010) won three first place festival awards and is available on Amazon Instant View. Recently, he directed the documentary short “Confessions of an Ecstasy Advocate,” story-edited Ghostbreakers, a 20-part syndicated TV series starring Joey Greco, set to debut in 2016 on The Family Channel, co produced The Starck Club, a documentary feature and The Price, a drama starring Randy Travis and James Dupre. In 2014-15, he was the artistic director of the Wildcatter Exhange literary festival, while his short film “The Death of Jim Morrison” (retitled “Death of a Rock Star”) was included in the omnibus package, Jonathan Demme Presents Made in Texas, which premiered opening night 2015 at SXSW and is distributed by UT Press. He teaches screenwriting workshops and offers a wide-range of freelance development services. Upcoming projects include feature films Hate Crimes, ReCharge!, and The Attachment, full length stage plays, Dr. Zombi, PhD and The Reversible Cords; and Great Lives, a live theater festival of one-person historical shows.

Bill Paxton’s Frailty

Bill Paxton’s Frailty, man what a film. It’s like a particularly warped Twilight Zone episode with heaps of southern gothic, a few plot twists that will blindside you, enough subtle hints to keep you coming back for revisits and plenty of chilling horror elements. It’s nice that the late Paxton produced a now iconic cult classic as his director’s debut because it shows that he’s a cinematic renaissance man and had talent in multiple areas, he was something special. On a rainy Texas night, a mysterious man (Matthew

McConaughey) shows up at the FBI headquarters and informs a senior agent (Powers Boothe) he knows who the God’s Hand Killer was, a case that has long gone cold. This sparks an intense, eerie tale of his growing up in midland Texas, how his father (Paxton) seemingly lost his mind and dragged his two sons (Jeremy Sumpter and Matt O’ Leary as young McConaughey) into a delusional practice of kidnapping and murdering people that god has told him are demons. It’s harrowing, blood curdling stuff because the horror is treated so bluntly, without much melodrama or shtick. Paxton was indeed a loving father and he approaches the killing with such an earnest rationality it makes one’s skin crawl. That’s just the start of it though, and watching how the past ties in with the story McConaughey weaves is a deliciously dark pathway of unexpected secrets and uncomfortable revelation. People who rag on about McConaughey’s career pre circa 2012 obviously haven’t explored deep enough. Between stuff like A Time To Kill, Lone Star, Contact, Reign Of Fire, this one and others he had one legend of a career before he even arrived at milestones like Mud or True Detective, and rocks it here. Boothe, who sadly passed the same year as Paxton, was an actor with more than a few tricks up his sleeve and he’s wicked good as the shady agent who gets visibly shook up by the gruesome campfire yarn he has to sit through. Paxton is haunting in front of the camera, turning a loving father into a conflicted killer with burrowing complexity, and in the director’s chair he proves more than competent, making this a horror thriller for the ages with its constant surprises, sickening scares and uneasy atmosphere.

-Nate Hill

Emerging from the river of wind: Remembering Slipstream with Tony Kayden by Kent Hill

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Slipstream was alluring from the moment I saw the poster in the front window of my local theater. From the producer of STAR WARS and the director of TRON was the proclamation, and I was sold. The film, even then, delivered, as far as I am concerned. It offered a different world, an intriguing premise, great performances and . . . yes, I’ll admit a disjointed viewing experience. Still, I love the movie and have always been curious as to the production and what elements combined to bring this fascinating story to the screen.

At length, I finally made contact with Tony Kayden, a veteran screenwriter and the credited scribe of the film (as well as a man with his own amazing set of adventures in the screen trade). And it didn’t take long to learn that the narrative irregularities of Slipstream were the result of no one really knowing what kind of film they wanted to make.

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With the money in escrow, the movie was being made, that was definite. The script that Tony was brought on to rework was, at its heart, a stock-standard Star Wars rehash. Enter producer Gary Kurtz. After enjoying success serving alongside George Lucas and Jim Henson on the Dark Crystal, Kurtz came to the project seeing another unique film on a grand scale and an adventure born in the wind. The director tapped to steer the ship was Tron director Steve Lisberger. His work on Tron was extraordinary, original, and one could only imagine what he might do with a larger canvas combined with thrilling aerial action, accompanying a compelling human story. But then then problems began. The Producers wanted action and more sexual interaction where possible. Kurtz wanted something cleaner, no graphic violence and something more Star Wars. Lastly there was Lisberger, having just become a father, and wanting to make something for kids.

Then you have the poor writer. Only hired for four weeks, Tony ended up residing in England for three months, trying in vain to mix this maelstrom of indecisiveness into a cohesive plot. Kayden saw the movie as a kind of post-apocalyptic version of the The Last Detail. You can see the surviving elements of this in the interactions between Bill Paxton and Bob Peck’s characters of Matt and Byron. One a fugitive being taken in for the reward, the other an opportunist looking to make a quick buck. But, ultimately they become friends and seek to merely flow with the slipstream they are, for better or worse, traveling along.

These two are chased by Tasker, Mark Hamill, in a platinum performance as the mustache-twisting law man whose faith has been replaced by devotion to duty and routine whilst maintaining order here in this desolate society. He harbors a Javert/Valijean type relationship with Peck’s curiously, emotionally-distant accused killer – who just so happens to be an android.

The journey down the stream brings Matt and Bryon into contact with fellow adventurers/survivors Sir Ben Kingsley (who after a chat about the script in the commissary with Tony, sought out a part in the movie), and eventually, another Oscar winner in the person of F. Murray Abraham, the caretaker of one of the last sanctuaries – a literal museum to the past, complete with all its folly and decadence.

But the movie ends in tragedy and triumph. While the evil pursuer is vanquished, Bryon’s hopes for happiness are dashed. He is forced to leave his new found friend and seek out his own kind, wherever they may be.

That all might come across as a little confusing? Like I said before, the film is disjointed. This doesn’t prevent it, however, from being fun. The the actors give solid performances, the photography is brilliant, the locations amazing, Elmer Bernstein’s score magnificent – it is just a shame that the powers behind this movie couldn’t seem to agree.

As Tony told me, “the writer often takes the blame.” Though that is not the case here. If anything he should be commended for fighting the good fight in a losing battle.

Still, my fondness for Slipstream endures. In part for what it is, but also for the possibility of what it might have been. Like I said to Tony, in the age of the reboot, there might be a second life yet for Slipstream. Now all we need to do is get Dwayne Johnson on board…

“Roadblocks won’t stop somethin’ that can’t be stopped.” : Remembering The Wraith with Mike Marvin by Kent Hill

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The Wraith was like many a glorious find back in the day at my local video store. The cover had a holographic shimmer to it – a strange robot-like character standing in front of some bad-ass, customized car that looked as though it would be more comfortable zipping through the galaxy rather than flying at break-neck speeds along the long stretches and cactus-lined roads of Arizona.

Yes sir, that cover held the promise of sci-fi mysticism combined with heat-thumping vehicular action to rival the Road Warrior.

Oddly enough, Dr. George’s post-apocalyptic action-adventure was the template for Mike Marvin’s Cult Classic. When the man who started out making skiing films came to Hollywood and saw an opportunity to fuse High Plains Drifter with Mad Max 2, one would assume it was a concept any studio would be happy to throw their weight behind.

But, then as now, the movie business can be treacherous, and Marvin’s experiences making The Wraith were far from pleasant. As a matter a fact, they were a nightmare. Plagued by unscrupulous producers, a tragic death while filming – along with all the other perils of production – it is a wonder that this certified 80’s classic ever made to to the screen.

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Lucky for us, however, thanks must go, in no small part, to a string of wonderful performers, a dedicated crew and a talented director at the helm, The Wraith survives as a one of a kind mash-up of genres that has endured and is, for this film writer at least, yet to be equaled.

This interview was conducted before I was able to sample Mike’s great and candid commentary on the Region 1 DVD release of the film. And while some of what he relayed to me you will find on that release, the truly glorious thing that I experienced was to hear these insights, plus a couple that were not covered in that commentary track, first hand from this journeyman warhorse of a film-maker.

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So seek out the The Wraith, those of you who have not yet experienced it. Let this interview, hopefully tantalize your interest to learn more about this incredible film that really was both ahead of its time, a product of its time and most assuredly one of a kind…

Ladies and Gentlemen…Mike Marvin.

 

 

Anyone you can catch, kill and eat: Remembering No Escape with Michael Gaylin by Kent Hill

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Gale Anne Hurd, the producer of Aliens and The Terminator, headed the charge back in the early 90s toward the adaptation of a book written by Richard Herley titled, The Penal Colony.

Set in 1997, it tells the story of how the British Government runs island prison colonies as a means to stem the tide of an overflow in mainland jails. There are no guards, no cells, and the island is monitored via satellite surveillance.

We follow the  a character named Anthony Routledge, who is brought to the island for a sex-crime that he did not commit. He soon discovers that under the guidance of a charismatic leader, a community on the island has evolved.

Now if that’s not the ideal film to make here in Australia, (if your are aware that it is pretty much how our nation began) then I don’t know what is. The production would hire future Bond director Martin Campbell, along with stars Ray Liotta, Lance Henriksen, Stuart Wilson and Ernie Hudson.

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Then a screenwriter named Michael Gaylin, a man who had slaved away in obscurity in Hollywood for more than a decade, would come into contact with a colleague of Hurd’s. He went for a meeting and, finally, after a career of false starts and forgotten promises, he was going to be writing on a film that would eventually, make it to the big screen.

After a long wait, I finally had the opportunity to sit down and talk to Michael about his career and his experiences during the making of No Escape or Escape from Absolom (as it was released over here). What I discovered, during our conversation, was not merely an insight into a film I heartily enjoy, but also the story of a resilient writer who finally had one script break through. A real life story very much akin to the journey of the hero of the film; who would take on all conflicts and eventually overcome them . . .  and escape.

It is a great film in the grand tradition of Franklin J. Schaffner’s Papillon.

Ladies and Gentlemen . . . Michael Gaylin.

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One Bloody Good Actor: An Interview with Steve Le Marquand by Kent Hill

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Steve is a top bloke, he’s an Aussie, he’s a top Aussie bloke. He hails from Western Australia but after spending some years on the road and gathering valuable life experience, he found his way over to Sydney where he took up his apprenticeship studying performing arts – an apprenticeship, Steve will tell you, is still going on.

Early in an acting career, beggars can’t be choosers, so Steve took a stab at just about anything that came his way. One of his launching pads was a, determined after the fact, rather sacrilegious commercial in which The Last Supper had, or was depicted as having, a rather different outcome from that set down in the biblical text.

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It, though removed from television, got him some notice and a part in the Australian cult hit Two Hands in which Steve starred and began a friendship with fellow Perth-born actor, the late Heath Ledger. It was radically different from the films being made locally at the time and also launched the career of Rose Byrne (Troy, X-Men: First Class).

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He was disgruntled and ready to throw in the towel on his career when, unexpectedly, a big Hollywood movie came knocking at his door. The film was Vertical Limit, directed by Bond and Zorro director Martin Campbell and starring Scott Glenn and the late Bill Paxton among others. Steve was one half of a two man comedic relief package in the film alongside Ben Mendelsohn who would go on to international fame and appear in Rogue One: A Star Wars Story and next year you’ll see him in Ernest Cline’s big screen version of Ready Player One, directed by Steven Spielberg.

From those high snowy mountains in New Zealand (where Vertical Limit was filmed), Steve has since enjoyed a long a fruitful career in film, television and his first stomping ground, the theatre. He remains a humble, salt-of -the-earth sort of fella who calls it like it is and won’t act in something that he himself wouldn’t be interesting in watching.

In an era when most of our country’s talent is swept across the pond with the promise of maximum exposure and ridiculous amounts of money, Steve has stayed, content to be an actor who is allowed the freedom to collaborate fully on the projects he chooses to be a part of.

He is a man of many parts, a teller of great and funny tales from a life and career spent being just what he is: A bloody good actor.

So, put your hands to together, for Steve Le Marquand…

In the footsteps of Schwarzenegger: An Interview with Peter Kent by Kent Hill

Ever been mistaken for somebody famous? Someone ever come up to you sayin’, “Hey you know, you look a hell-of-lot-like (insert famous actor here). You could be his stunt double.”

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Peter wasn’t in Hollywood long before he heard about a little film being made called The Terminator. He went down and met with the film’s director, this young guy named James Cameron. Then, he met the film’s star, a chap named Arnold Schwarzenegger. Peter bore a striking resemblance to the man who would ever be Conan. It was after this encounter that would secure Peter a gig for the next 13 years as guy who made Arnie look as though all the rough stuff he endured on screen looked like a cakewalk.

Of course, along the way, Peter became a star in his own right; not only playing small roles in Schwarzenegger movies, but amassing an impressive list of credits in both film and television alongside his stunt work.

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Nowadays however, Peter is a contented family man and is equally as dedicated to training the next generation of stunt performers. And who better to learn from than one of the best. This was a great interview with tales of life with Arnold, fighting over the channel changer with Jesse Ventura and having a beer with Charlton Heston.

So dear PTS listeners I give you a chat between two Kents. And no, I’ve never been mistaken for Peter.

Enjoy . . .

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(FOR MORE ON PETER’S STUNT SCHOOL FOLLOW THIS LINK: http://peterhkent.com/1school.shtml )

Fantastic Beasts and the Man who made them: An Interview with Chris Walas by Kent Hill

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When I think of the work of Chris Walas, a few things pop into my head.

The first is how much I loved Dragonslayer when I saw it at the cinema as a kid. It like The Black Hole was a dark, different Disney movie. This was the era when Disney was trying to be more like a studio and not purely focused on the animation that had garnered it so much love.  I remember waiting for the moment when the dragon would finally be revealed and I was not disappointed. I was becoming aware of how movies were made at that time, so the prospect of any giant creature on screen, knowing that it was actually there, that it had to be built was incredible.

The second is Enemy Mine. A movie for the longest time I had only seen the last twenty minutes of. During the heyday of video piracy, it was not uncommon to borrow a tape from friends or family and find the tail ends of stuff that had been taped over. Ironically I can’t remember the film that was taped over it, but those final scenes from Enemy had me intrigued. I think it was one of my cousins who I borrowed the tape from, so I asked him about the clip at the end. “Oh I taped over that ‘cause it was kinda boring. Some dude and an alien have a baby together.” Yes folks, I have some really classy relatives, and that was how he pitched Enemy Mine to me. Still, undaunted, I sought it out and it is a whole lot more than that; indeed another great film from Wolfgang Petersen who had blown my mind prior with The Neverending Story.

Finally I reflect on The Fly 2. One of two films I have literally lost my lunch watching. And, let me be clear, up to that point, I had seen gruesome stuff before so it wasn’t so much the imagery as it was the visceral qualities of the imagery. As the years go by, and because I haven’t seen it in a long time, so it’s sketchy at best, but one thing that I recall was Daphne Zuniga wiping away Eric Stoltz’s slimy coating from this one scene and giving him a kiss. I remember that or something like that, like I said, it’s been a long time between drinks, but that scene and a few others helped my lunch get its own sequel that day.

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But enough about me, let’s talk about Chris.

Chris Walas has worked on a handful of truly iconic films. You can see is work in Raiders of the Lost Ark, Return of the Jedi, Gremlins. He is an Academy Award winner – that Oscar being for The Fly and part of a terrific association with David Cronenberg who he would go on to work with on other films like Scanners and Naked Lunch.

He has sat in the director’s chair on (of course) The Fly 2, The Vagrant and “Til Death”, an episode of Tales from the Crypt. He was part of the Roger Corman stable; he worked on Airplane!, Galaxina, Caveman and Virtuosity – he is a very talented man who has had a hand in the truly grand cinematic experiences of my youth and it was an utter delight to interview him, and subsequently, to present said interview to you. Ladies and Gentlemen . . . I give you . . . Chris Walas

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KH: Sir, it is truly an honour to make your acquaintance. You have the distinction of being the first Oscar winner I have interviewed for podcastingthemsoftly.com

CW: That’s hard to believe with all the Oscar winners out there these days, but I’m happy to be here.

KH: Before we get into the meat of things, I was wondering if working in the picture business has be a lifelong pursuit, and if so, what were the films that lit the fire, so to speak?

CW: You know, it’s interesting because so many interviewers ask “What was the film that made you want to do what you do?”  I don’t think it’s a simple as that. It’s like asking painter what painting made them want to be a painter. It’s not about a single event; it’s about an artform that creates the magic in the imagination. I was a movie fan as far back as I can remember. I loved all films. I loved what the medium could do. I didn’t understand any of it, but I loved “Citizen Kane” as a little kid. It was riveting to me. I grew up on the old Universal Horror Classics and still love them. The Sci Fi films of the 50’s hold a special place in my heart for sure. But I can definitively say that the single film that made me DECIDE that movies were where I wanted to be was Ray Harryhausen’s , “Jason and the Argonauts”. It was the first film I ever saw in a theatre and I was transfixed by the experience. I knew at that moment (even though I understood nothing about it) that that was what I needed to be a part of in my life.

KH: You have worked on some truly iconic movies, many of which are my personal favourites. But, how did you get into the business after your schooling ended?

CW: I wanted to get into films somehow. At that time I was on the East Coast and the film business was pretty dead just then. So I left for Hollywood with a couple hundred bucks in my wallet and a sublime ignorance of the realities of LA.  I was lucky enough to get a job shipping film for Disney, which was magical for a naive kid from New Jersey. Discount tickets to Disneyland, and I could spend all my lunch hours on the back lot talking to the original animators of Snow White or the wire rigger for the Squid tentacles from 20,000 Leagues Under the Sea. They all brought their lunches and sat out in the backlot relaxing or practicing their watercolours. And they loved to talk. It was my introduction to the world of movies. Wonderful. I then took filmmaking classes for a year until my money ran out and I took a job at Don Post Studios, a company that made high quality Halloween masks and occasionally did some film and TV work. I was there a year and started out painting a gross of masks a day on the cheap line to being a member of the lab crew, developing new product and working on the occasional outside project. It was an education I would have paid for. I learned more in that year than in four years of college. But I was antsy and impatient, and one of the other Lab guys (Bob Short) and I left and started a little partnership doing odd projects. We both started to get good reputations, but each doing different things, so we split up and went our separate ways. And it just grew from there.

KH: Tell us, if you will, about working on some of your early credits like Island of the Fishmen (Screamers), Humanoids from the Deep and Piranha?

CW: Piranha was my first on set film experience. Jon Berg, who was in charge of the effects on the film, had been to Don Post to see about them running some of the rubber piranhas. That didn’t work out, but the connection had been made and when the FX shoot needed more people, Bob Short got pulled on board and then through Bob, I got pulled in. That was my entry into the crazy world of Roger Corman films. It was wild and desperate filmmaking in those days; no money, no time. The only good part was that IF you could actually make something to get in front of the camera within the meagre time and budget, you were a hero. It was a process that very quickly filtered out those who could from those who couldn’t. But it was exhilarating and magic at the same time. Isle of the Fishmen was a bit of a mess. The original Italian production had been purchased by some fly by night LA outfit and they wanted to “beef it up” for the American audience. We had almost nothing as far as a budget, but it was with some people that I felt comfortable with.  Miller Drake and (unofficially) Joe Dante. It was a small and relatively close group in those days at New World Pictures. We shot out at the beach in the middle of the night in January and nearly froze to death soaking wet in the Fishman costume. Other inserts were shot in Joe’s garage; it was that kind of filmmaking.  But Humanoids was a different story. New World had asked me to do it, but I was busy on GALAXINA and a couple of other films at the time, so I suggested Rob Bottin. But the schedule was a tough one on that show and Rob asked me to come in and do a bunch of the sculpting and running on the Humanoid costumes. As well as those absurdly huge arm extensions! It was an extremely intense time for me as there was way too much work and not enough people in town to do it all.

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KH: I know you probably get a lot of “Fly” questions and I think that if people really want a good insight into the making of that film they should watch the comprehensive Fear the Flesh. But, you worked on a few movies with Cronenberg (The Fly, Scanners and Naked Lunch). What was making pictures with David like?

CW: This is a great question, if for no other reason than it lets me applaud one of my very favourite directors I’ve had the honour to work with.  David Cronenberg is an amazing filmmaker. He’s not just a director. His films truly belong to him. They are his vision. He’s an astonishing writer. When I was first approached for The FLY, I turned it down. I didn’t want to do a remake, etc. Stuart Cornfeld, the producer, said, ” I know,  I agree. Just read the script”. I read the script and it was superb. David had redone the original script and made it his own. I couldn’t say no to that script.  And David is an astonishing director because he really understands the process that everyone is going through. A lot of directors are absolutists; it has to be a certain way. David understands that production is about compromises and that a good director only makes compromises that don’t hurt the film. He was demanding and understanding at the same time. Very unique qualities in a film director and I feel very fortunate to have worked with him.

KH: I have vivid memories of The Fly 2. I remember watching it on video with some cousins and felt my lunch coming back on me a couple of times during that flick. How was it to finally sit in the director’s chair on Fly 2 and the other films you directed?

CW: Somehow, we hold the director’s chair as some ethereal pinnacle in filmmaking. And in some ways it is. It is the ultimate decisive position, historically. But I had already been directing teams of dozens of artists at my company, coordinating large operations and such, so I don’t think I was as intimidated as a lot of first time directors. I was quite comfortable directing, especially as I had such a wonderful crew of true talents on the FLY II. I never actually wanted to be an effects person. It was just the easiest way for me to get into the business.  Besides, it’s ALL filmmaking. All of it. From craft service to timing final prints. Directing is just the most focused, exhausting position. But I loved it.

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KH: I interviewed William Sachs recently, director of Galaxina. Can you tell us about your work on that film?

CW: I’ve only lost money on two films. GALAXINA was the first one. At that time there were a lot of productions trying to cash in on the STAR WARS phenomenon. So there were a lot of over-ambitious, under-funded films being made. GALAXINA was right smack in the middle of those. Bill (Sachs) had his hands full on that film. He really did. And for me, it was a really, really tough show as there was a lot of stuff and very little money. We had to make a couple of the alien costumes overnight; the schedule kept changing wildly. I don’t know how Bill dealt with it all, honestly. It was furious alien making, to be sure. We had Angelo Rossito as the little alien creature. Little Angie, as he had been known, was a dwarf who had worked on countless films. The schedule changed dramatically and the three weeks we had scheduled to make his suit turned into 18 hours. But he was a total pro. He showed up with some of his old clothes for us to use as the base for the suit! We built the suit right on him and he never had a word of complaint at all. Total pro. Everything we did for Galaxina was done scraping the bottom of the barrel because there was so much work.

 

KH: I have a great fondness for both Dragonslayer and Enemy Mine, they speak to my youth. Tell us about working on those pictures; especially Enemy Mine, it’s one of my all-time favourites?

CW: Phil Tippet brought me up to ILM to work on the team for Dragonslayer. And that was a wonderful experience working with some of the absolute top talent in the field. Every day was an education for me. I was strictly on the in-house FX team and didn’t go over to England for the shoot. I made most of the molds for the dragons and baby dragons as well as running most of the rubber pieces.  I rigged the puppets for the baby dragons and built a few odds and ends pieces for individual shots; smaller scale grabbing legs, a bit of wing, etc. The biggest thing I was involved with was the close up Vermithrax puppet. It wasn’t part of the original plan, but they just couldn’t get the footage they wanted out of the full size head and neck that Disney had done, so I designed and built, and operated an animatronic puppet head. That was exhausting because the puppet had to be dripping water all the time, so the puppet became supersaturated and just kept getting heavier and heavier. But I think it worked in the end and helped the picture.

Enemy Mine was basically problem after problem. I started out working with the first director, Richard Loncraine, who I really liked and admired. We shot for six weeks on lava fields in Iceland before 20th Century Fox closed the picture down and hired Wolfgang Peterson to direct. We were supposed to be closed down for two weeks for the restart, but it was a full six months before we got going again.  I think, for us, the production got bogged down in a lot of committee decision making, which slowed everything down.  But in the end I was happy with the designs. We had an opportunity to do quite a lot of different effects for the film between the Dracs and all the odd creatures. The newborn Zammis puppet was one of my favourite rigs on that show.

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KH: You worked with Joe Dante on Gremlins which was produced by Steve Spielberg whom you worked with on Raiders which was produced by George who brought us Return of the Jedi which you are also credited as having worked on. In retrospect, what was it like working on these milestones of cinema?

CW: Every once in a while you get lucky. Gremlins was a true milestone for me in both my life and my career. It was the first time I was in charge of running such a big crew on a studio picture. It was truly an insane experience for me as the picture just kept changing and growing, with new gags being developed for the Gremlins almost daily.  I don’t think I’ve ever been worn out so completely on any other film. But at the same time it was great fun, like a bunch of grown up kids playing. We had no idea we were working on a film that would be so successful and impacting.

Working on Raiders of the Lost Ark was great. Challenging. But it was at ILM, which was then the absolute pinnacle of FX houses in the entire world. I really wasn’t used to being able to say, “I sure could use one of these…” and then having someone order it right up or just get it from another department. So I had options available to me that I hadn’t really had up to that time.  Richard Edlund was in charge of the FX on the show and he was great about making sure that I had what I needed for the melting head and the other shots. I didn’t get to see the film until just before it opened and I was blown away. It’s such an amazing film. I feel so lucky to have been a small part of it.

For Jedi, I really only did design maquettes for some of the alien races in the film. I set up the creature shop for ILM, but then I left to pursue other projects. It was very nice to be included in the credits on that one!

 

KH: You have a number of diverse entries among your credits like Deep Star Six, Arachnophobia, Hot Shots and Virtuosity. Were these genres you sought after or were the film’s concepts interesting or was it simply the want to be constantly working that brought you to these projects?

CW: After Gremlins, I had set up a genuine facility with a great crew who knew what they were doing and so I had to take what projects I could to keep the shop going. But some of the projects were favours; Deep Star Six was for Jim Isaac, who was striking out on his own after being on my crew for a number of years. House II was for Ethan Wiley, who had also been a member of my crew on Gremlins and others. Some films were projects I really wanted to do; ANYTHING David Cronenberg was doing. Anything for Amblin, Spielberg’s company. But in between those projects it was a matter of trying to choose what projects seemed like they might be good films as well as keeping the shop going as long as possible.

KH: You’ve been a writer, director and producer having a film you co-wrote come out in 2016. Did you ever want to make more of your own pictures and do you, like so many people in the industry, have dream projects that might have come close but never saw the flickering light of the silver screen?

CW: I would have loved to have done more directing.  But it just wasn’t in the cards. I have a number of projects I would love to see resurrected someday. One of my favourites is a project called “Dathulgon”, which is a steampunk combination of characters and plot lines from Jules Verne and other early steampunk writers mixed with the cosmic horror of H.P. Lovecraft. That project was humming along nicely when the big market crash ruined a lot of financing for films.  I have a whole list of projects I would still like to see happen!

KH: Well sir, as a long-time fan this has been a very large pleasure, and though we were not able to conduct this interview via recording I care not, for as I said I am honoured to have met you and am humbled that you have taken this time to be interviewed for podcastingthemsoftly?

CW: It’s been a pleasure. It’s fun to reminisce and I really appreciate knowing that there are people out there who look back fondly and remember the work kindly. Thanks!

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So there you have it. Chris Walas folks. Applause is totally necessary for this talented man and his amazing career.

 

I’ll just take a moment to let you know some other interviews I have coming up. I’ll be bring you chats with Mike Marvin (director of The Wraith), Chris Olen Ray (Two & Three-Headed Shark Attack), The Outlaw film critic VERN, Scott Rosenberg (creator of Cowboys and Aliens). Prior to the release of SHARKNADO 5 (because that’s the kind of nerd I am) I’ll be presenting a double feature that week prior to August 6th of my interviews with Steve Alten (we discuss the long cinematic gestation of Meg) and the man himself Anthony C. Ferrante (director of the SHARKNADO series). So as ever, thank you for checking out podcastingthemsoftly.com, and watch this space…

Cheers

Kent

Mean Dreams 


Mean Dreams is every adolescent’s worst nightmare. Or maybe it’s horrible scenarios like this that prepare youngsters for the real world, and build character. Or perhaps they just turn them into the same bitter, violent adults they’re trying to escape from, only to perpetuate the circle. In any case, it’s an ugly, somber story, scarred by the harsh realities some teens face on the road to adulthood. It’s ironic in a way that this is Bill Paxton’s last role in cinema, and I wish it weren’t, because he plays an absolute monster. For anyone who’s met him or seen interviews, he was the sweetest dude you could ever hope to meet, and wouldn’t hurt a fly, but he always chose tough scripts that made memorable, challenging films and this is just one more. Paxton plays a lawman and single father who moves his daughter (Sophie Nelisse) out to a desolate county, brought to life by stunning, haunted rural Ontario. Once there, she finds her only friend in a local rancher’s son (Josh Wiggins), and it’s not long before romance begins to flourish. Not on Paxton’s watch though, that angry drunk prick. Abusive, dangerous and up to his neck in illegal activities, it’s only a matter of time before he gets one of them, himself, or everyone killed, and Wiggins hatches a plan to get the both of them out of their and on the run to better lives. Trouble is, where do you turn for help in a town whose only police officers are not there to help you? Paxton has a bitter ally in the Police Chief, venomously played by Colm Feore, and the dragnet they lay over the county threatens to ensnare the two teens at every turn. Wiggins and “” are excellent, especially for their age, playing the character development with all the right notes, even when things get tense between the two of them, a facet of their relationship that’s nice to see and brings out shades of maturity in the writing that this type of film begs for. Paxton is scary, tragic, broken and brutal, a soured man who shows occasional flickers of the father he once must have been, and despite the ugliness, it’s some of his best work in a while, particularly during a positively poetic final confrontation. The cinematography from Steve Cosens lingers in the long grass until you can hear the mournful echoes of a region beset by economic despair, a place where danger breeds easily and is always just on the horizon, an uneasy mood also perpetuated by Son Lux’s unconventional score, which finds the spark of first love amidst the strife. Downbeat, but hopeful stuff. 
-Nate Hill